Abstract
How does the local raga-based music setting of Psalm 24:7–10 become associated with Christian identity in an Islamic context? How does Psalm 24 strengthen the faith of the marginalized church and broaden messianic hope? In what ways does Psalm 24:7–10 equip local Christians for missional engagement? This paper focuses on the convergence of the local raga-based musical concept of sur-sangam and the revealed text of Punjabi Psalms/Zabur 24:7–10. It argues that while poetic translated text in Punjabi vernacular remains a vital component of theological pedagogy, local music expresses the emotional voice that (re)assures of the messianic hope and mandates missional engagement in Pakistan. Throughout the convergence, musical, messianic, and missional perspectives are transformed to a local phenomenon and its practice is perceived in a cross-cultural connection. Furthermore, examining the text and tune of Punjabi Zabur (Psalms) 24:7–10 in the Indo-Pak context may stretch the spectrum of religious repertoire in the contemporary intercultural world.
Highlights
During preparation for the fifth annual Zabur2 Festival 20213 at Artesia City Indo-PakChristian Reformed Church in Southern California,4 the church’s youth dance choreographer organized the dance performance for the Psalms festival
Instead of using the Psalm track sent to her, she insisted on preparing and performing on the contemporary track of Punjabi Zabur (Psalm 24:7–10). She stated that the contemporary track is more rhythmic and engaging for a dance performance
Her preference of Punjabi Psalm 24:7–10 shows the impact of localized music on the young generation living in their homeland and the Indo-Pak diaspora
Summary
During preparation for the fifth annual Zabur Festival 20213 at Artesia City Indo-Pak. Instead of using the Psalm track sent to her, she insisted on preparing and performing on the contemporary track of Punjabi Zabur (Psalm 24:7–10) She stated that the contemporary track is more rhythmic and engaging for a dance performance. Her preference of Punjabi Psalm 24:7–10 shows the impact of localized music on the young generation living in their homeland and the Indo-Pak diaspora. A blending of Sufism and bhakti (devotion) epitomizes the work of Kabir, Surdas, Ramdas, Mirabai, Guru Nanak, and myriads of local poet musicians across the Indian subcontinent (Ruckert 2004; Wolf 2009; Fletcher 2001). The bird’s eye view of the historical continuity of localized Indic music leads us to navigate the aesthetic theory of Indic music
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